Reviews by autro

The opening track is absolutely amazing, and set the mood for a jangly fun album to come, only to be immediately ruined by the pretentious second track that completely clashes every expectation I had going in. As the album progresses, I hear peeps of beauty in between self sabotaging punk noise, that is just completely unnecessary. Fear and Whiskey has so much potential, and after teasing its ability on the opening track, it just makes for a disappointing listen. Making punk music is great, but pairing punk with nice sounding instruments to purposefully clash makes for an awful experience. Then the second half of the album does a 180 (maybe more like 90 it's not that good) and dials in more on the folky fiddle tracks. There's nothing crazy special here, and it gets a little boring after 3 or 4 tracks, but it's definitely an improvement that made the latter half of this record bearable.

This album took me many listens to finally like, similarly does the punk genre in all. It's definitely fun to say the least. One of the highlights throughout Repeater is the bass playing, which I really like. The songs don't feel too samey either, staying consistent pretty much the whole listen as Fugazi experiments with their sound. Good stuff.

The first track starts off with an explosion. I was expecting a riff, or a fill, but Speed King perfectly blasts off this album like a fucking rocket with a minute of chaos to excellently encapsulate what this record is gonna be. Every track is just a banger, with the epic Child in Time showcasing the incredible talent of not just every member, but especially Ritchie Blackmore. That middle section is just something else. Jon Lord is also just ridiculous throughout this entire album. Every single musician on this album is actually insane, and they luckily put their genius into this heavy metal madness. It's funky, it's heavy, it's technical, it's motherfucking Deep Purple.

I went expecting great things, and left very satisfied. You got classics like It's Tricky and Walk This Way, deeper cuts like Is It Live and Hit It Run, all making up some exquisite classic Rock-Rap. One thing I love that this album does are the swapping lines where the MC's bounce the sentence back and forth creating an original effect to enhance the genre. The sonics on this album are also criminally underrated. Prominent in the drums, the sound the record achieves is great. The transition from Adidas to WTW is also one of the slickest things I've ever heard. There are definitely points in the album where the tracks run longer than they need to and tend to be a little empty at times, but it's still an absolute classic that I have no problem throwing on.

The Verve is a band that makes me want to sit on a hill. I'm motivated to lie on a field and soak grass for hours as I enjoy this shoegazey britpop. I can't really say anything bad cause I always feel extremely pleasant every time they're on. Is it special? Yes, each track is its own experience and the record as a whole feels like a psychedelic slip and slide that seamlessly connects rock and folk elements into its sound. This album sounds like mushrooms. The psychedelic swirls that the songs jam throughout the record are super sick, and it gives a nice contrast to the soft clean material and also build wonderful dynamic effects to enhance the atmosphere. As much as I appreciate each individual track, the album is such an emotion and mood based substance and it's definitely better as one whole experience, like playing the opening track and entering a tunnel, and then finishing the album out the other side with the tracks altogether giving the full effect. I really fuck with The Verve.

Musically this is so boring. Almost every single song is just a looping sample that just drones and doesn't change. Hard life is pretty good, but like why do these songs just have random ASMR sections. We're trying to listen to music guys c'mon. Some of the songs on this album do not need to be here like it's just looping chants that have meaning, but it loses weight after you say it for 2 minutes straight on an hour long album. And some of these songs are just so corny like we can do better than looping "Black. I'm Black. Black." like we can add more depth it's not gonna hurt anyone. Some of the album is actually pretty great, but every track just goes on way too long. Every time I'm really messing with the song, it just ends and then the beat just loops for like 2 minutes more. Bow, Eternal Life, and Monsters are fucking gas though.

I took one look at the album cover and the year this album came out and immediately categorized it as some sort of jazz or soul record from the 70s. The second I clicked track one, I was instantly startled. The opening track swifts you off your feet and introduces you to this uneasy, zany atmosphere. I really like Brian Ferry's fancy croon that he delivers throughout the album; it's very fitting for the material. The record continues with banger after banger; pacing absolutely outstanding with wild extravagant tracks being placed between beautiful genre diverting ballads. The mixing is also fantastic. I really like Strictly Confidential. It's funky, it's flamboyant, it's beautiful, it's original; I'm definitely listening to more Roxy Music.

This album's so fucking wacky. I love it so much. It sounds like 80's King Crimson but with even more fun vocals. This record was pretty much nothing I expected. Some songs are straight insanity, but it works surprisingly well. Even better, it has the genuine great tracks to back it up so I know they're actually musically guided and capable and not just dicking around, so it gives support and back to the nonsense. I don't know if it was because I was sick when I listened, but everything about the zaniness automatically clicked the minute I started it. However, some tracks are a little repetitive, which isn't too bad due to the album's overall short length. Ridiculous stuff.

This was my first impression of Bob Dylan, and I was certainly impressed. It was everything I expected, but double. His lyrics are absolutely genius. They're perfectly written enough to comprehend and fully hear volume-wise without having to fully focus, but complex enough that they encourage you to look beneath the surface and pay attention. His words instantly grab you and make sure you understand what he's trying to convey with this slightly rebellious/sarcastic tone, and they're mixed perfectly unlike most folk music where the instruments tend to be the head of the song. His vocals weren't even that bad, and neither was the harmonica. The only real problem I have is the two random blues tracks in the middle of the album that are pretty copy paste for the time and kind of unfitting compared to the rest of the record. Towards the end, the writing can get a little obvious and blunt, but it's still important words that are being sold. Aside from that, this album is lyrical genius and gold folk rock.

This album is funky. Every single instrument is absolutely jamming, especially the bass. The lyrics on some songs can be pretty repetitive, but the vibe and feel that the tracks gave covers for it. The first two songs are solid, fun soul/funk meshes. Then the third track is a 13 minute jam. Probably my favorite on the album, the sax work on this alone makes the song so incredible.I love the fourth track too, definitely the most psychedelic song. This whole album is underratedly psychedelic, and it's brilliantly done if you fully engage with the sound. City, Country, City is so fucking good. It feels like such a journey too; hypnotizes you in and you're spit out in a trance into Four Cornered Room. The last two tracks are pretty good, just a little repetitive. Net very positive listening experience.

This vocalist is great. I like the first few songs on the album, expecting and awaiting straight peak upbeat indie, but then for a good 20 minutes is a slow laid back emotional dwelling that drags for a bit without changing much, and the songs are stripped from pretty much everything besides basic drums and vocals. It picks back up again on track seven, and then dips once more. The vocals start to get very breathy and the tracks just kinda loop. Like it's not bad but I'm not engaged whatsoever. The production is still absolutely fantastic and it definitely boosts the album a ton. I can tell why some people would like this a lot but it's just not anything special outside the well done singles.

I really like the vocals, but this genre and theme the album goes for is just not for me. Ridiculously impressive stuff, but lyrically it's just very in your face like we get it. At certain points in the record, the vocals are just way too much and extremely annoying, but there's a beautiful opposite they achieve too. The genres the album explore are all over the place as well. I thought it was metal but now it's funk? Now it's grungey alt rock? Orchestral pop? Just a very strange collection of songs that doesn't have much cohesiveness. However individually, I like the tracks pretty well. I just can't make sense of this album/latch onto anything, and it's making me feel disengaged. Good things don't always come to you is a fucking banger though.

Fiona is an absolute killer vocalist. I love how subtlety she blends pop with jazz just enough to make it unseen to the average listener, but a spice for the engaged audience. Her melodies and poetry go hand in hand perfectly, which are just masterwork. For the musical era, she chooses such an interesting genre and feel for her composition, and it's incredibly original as it is great. The closing track to just hits so hard too, and to be using writing such extravagant arrangements for her DEBUT mind you, is just incomparable talent.

This album is incredibly ahead of its time. The synth use combined with the great artistic choice of panning go incredibly throughout the whole record. A lot of the songs go on for way too long however, and even though the length of the album isn't that long, I quickly felt pretty bored of the looping keys. Great ideas, but I just wish they were executed more fully. As the songs drone on, they begin to feel empty. Nevertheless, this record is super groovy, and if you're looking for something to dance a bit to and enjoy the futuristic sounds that the 70s somehow achieved, this is a wonderful listen for the most part.

Master of harmony, Brian Wilson delivers a pretty solid collection of songs. It felt like a nursery rhyme the whole time for some reason, probably due to the instruments in use. Some of these I wouldn't necessarily even call songs, and a couple are just covers of his old tracks? A few songs are the same as others as well. Nothing here is bad, but I'd rather just listen to the original Beach Boys.

Long songs can be super cool, but only if structure is applied. The psychedelic jams seemed to stretch for ridiculous lengths and made me feel incredibly disengaged. Jaki Liebezeit is incredible throughout the album so to say, and his ability perfectly accompanies the vibe the record is going for. The longer songs just seemed to drone on and on and it felt like less of a cohesive album as the tracks kept going with genuinely no structure. Although, Moonshake is a great song and at times the longer songs could be interesting.

It's not bad, but I pretty much just listened to the same song 14 times. It's upsetting because Britney Spears is a talented singer and performer, but was categorized into this weird devotion pop that wasn't the most comfortable to hear for 50 minutes. The instrumentals aren't too bad, but they're sporting the most surface level lyrics and formulas that the studio churned out to fill the rest of the album. The closing track is actually pretty nice, as well as the Cher cover.

Having heard a couple bowie records before, I went in with similar expectations. Quickly I discovered that this album is much different. The vocals are quite interesting, and this avant-garde style of Bowie was not my cup of tea. Some of the lyrics are extremely questionable as well. Every song is so murky and gray, and I cannot bear this to any extent. However the last two songs strike me by surprise and shift to more melodic and structured songs, featuring a phenomenal sax and guitar solo. I really wish they just stuck with that sound the whole time. This kind of experimental genre is just not for me. I just don't see the appeal.

This is probably the most inconsistent album I've ever heard in terms of formula and material, not quality. The first two songs are funky hip-hop gold, and then immediately following are two fun but empty songs that tend to drag a bit longer than they should. Then there's two soul songs straight from the heart which are beautiful. Then the legendary title track plays, which I think is great but just a little too long than it should be. Lastly, the closing track is sample mania with, from what I heard, like 6 samples at once. It's very wacky, it's very fun, but a strange listen. I'll bump it to a 4 cause of dreaming, which is one of the best unserious songs I've ever heard.

Every soul album prior to the 70s has the same formula of writing the big singles, and then packing the rest of the album with a bunch of filler (maybe a cover or too here and there). So when the generator gives a record like this, do you rate it off the singles or look inward at the filler? The filler wasn't even that inconsistent though, and actually ranks well among the hits. Great singing along with nice songwriting and arrangements with the orchestras and band make the album absolutely listenable, but I don't hear anything out of the ordinary from this respective genre. Quality soul and blues.